Sunderland Empire – until 6 May 2023

5*****

We really did feel the love tonight, as The Lion King majestically made its way to Sunderland on its UK tour.

Confession time – I’ve never seen The Lion King, neither the films or the show!  But I had my friend with me who loves The Lion King and had watched it repeatedly over the weekend in preparation for our trip.

Based on Shakespeare’s Hamlet, The Lion King tells the tale of Simba, the son of King Mufasa (Jean-Luc Guizonne) and his lioness mate Sarabi (Tanisha-Mae Brown).  After Mufasa is killed, young Simba feels he is to blame and runs away.  He is found by Timon (Alan McHale) and Pumba (Carl Sanderson) who take care of him whilst he grows into an adult.  Simba’s evil uncle Scar (Richard Hurst), mistakenly thinking Simba is dead, assumes the throne.  But whilst Musafa was worshipped and adored by the animals of the land, Scar is hated.  Returning to Pride Rock as an adult, Simba (Kyle Richardson), helped by Timon and Pumba, his mother and childhood friend Nala (Nokwanda Khuzwayo), fight the Hyenas (Candida Mosoma, Jorell Coiffic-Kamall and Alex Bloomer) who protect Scar.  Simba defeats Scar when he admits he killed Mufasa.  Simba then becomes King and the Circle of Life shows us Simba showing off his new cub at Pride Rock.

The start of The Lion King is iconic, sitting in the stalls and watching the animals walk through the stalls by us.  Giraffes, birds, zebras and even an elephant triumphantly parading to Pride rock to see Rafiki (Thandazile Soni) triumphantly display baby Simba to the world.

The staging of the show is outstanding.  Julie Taymor’s direction, costume design, mask and puppet design; Elton John and Tim Rice’s music and lyrics; book by Irene Mecchi and Roger Allers; Gareth Fagan’s choreography; Richard Hudson’s scenic design; Donald Holder’s lighting design; Michael Ward’s hair and make-up and Steve Canyon Kennedy’s sound design all come together to make this yet another Disney spectacular.  I particularly liked the movement of the actors as they prowled rather than walked and the way the actors spoke to the faces on the masks and not the actors actual face

Whilst its difficult not to name check all the performers, for me I thought the young Simba (Ro’jae Simpson on press night with Daniel Adesina, Miles Jabbie, Remirez Mais Jayden Salami and Jay’don Eastman sharing the role) and young Nala (Gabrielle McDonald on press night with Lacey Lansiquot, Nokutenda Mushuku, Harmoney Raine Riley, Lauren Simpe-Asante and Adreanna Steventon-Todd all sharing the role) were very talented and self-assured, definitely stars of the future.  And a special mention to Matthew Forbes who shone as Zazu – I loved his sarcastic rendition of Let It Go.

Disney theatricals have triumphed yet again.  It is a long show at two and half hours; so if you are taking your children, maybe consider a matinee performance – there are three in Sunderland: Wednesday, Saturday and Sunday.  This is a magnificent spectacle of a show and whilst I might not have seen it before, I definitely plan to see it again.  Disney at its best – Hakuna Matata

HAMNET TO TRANSFER TO THE WEST END’S GARRICK THEATRE THIS AUTUMN

The Royal Shakespeare Company and Neal Street Productions, in association with Hera Pictures, today announce the West End transfer of Hamnet.

• STAGE PREMIERE PRODUCTION OF HAMNET TO TRANSFER DIRECT FROM SELL-OUT STRATFORD-UPON-AVON RUN TO THE GARRICK THEATRE FOR 14 WEEKS
• HAMNET RUNS FROM SATURDAY 30 SEPTEMBER 2023 – SATURDAY 6 JANUARY 2024 WITH TICKETS ON SALE TO THE PUBLIC FROM THURSDAY 6 APRIL AT 10AM
• BASED ON THE BEST-SELLING NOVEL BY MAGGIE O’FARRELL, WINNER OF THE WOMEN’S PRIZE FOR FICTION, 2020.
• ADAPTED BY AWARD-WINNING PLAYWRIGHT LOLITA CHAKRABARTI AND DIRECTED BY RSC ACTING ARTISTIC DIRECTOR ERICA WHYMAN
• MADELEINE MANTOCK TO PLAY AGNES HATHAWAY

The stage production of Hamnet will transfer direct to London’s Garrick Theatre this autumn after selling out ahead of its world premiere at the newly restored Swan Theatre in Stratford-upon-Avon this April.  

The production will run for a limited 14-week season from Saturday 30 September 2023 – Saturday 6 January 2024 with a press performance on Thursday 12 October 2023. 

The RSC has worked in partnership with Neal Street Productions, one of the UK’s most respected production companies, producing film, television and theatre. The novel was first optioned by Hera Pictures who together with Neal Street secured the rights to bring Maggie `O’Farrell’s celebrated novel to the stage.

Maggie O’Farrell said: “It’s wonderful and welcome news that Hamnet will transfer to the Garrick Theatre later this year. I was astonished at how fast the Stratford-upon-Avon tickets sold and it’s lovely to know that more people will have the chance to see it in its new London home. It has been a joy from start to finish to work with the RSC, Hera Pictures, Neal Street Productions, director Erica Whyman and playwright Lolita Chakrabarti on bringing this adaptation into being. I have been lucky enough to attend rehearsals, and to have a glimpse into the creative process of transposing a novel into a play has been fascinating. The cast are fantastic, each and every one, and are breathing new life into the story for its stage version. The motivation, for me, in writing the novel was to give a voice and a presence to the only son of William Shakespeare, who died when he was eleven and has ever since been relegated to a literary footnote in his father’s biography. Although Shakespeare was born in Stratford-upon-Avon and maintained strong ties with the town throughout his life, choosing to return to his family there when he retired, London was of course the centre of his professional life. It feels particularly apt and moving, therefore, that a play which puts Hamnet centre stage will now move to the world of theatrical London.”

Lolita Chakrabarti said, “I am beyond excited that Hamnet is transferring, following the sell-out run at the Swan. It has been a real journey to adapt Maggie’s beautiful, deep novel, but this is a story of the joys and trials of family life, so it has been very familiar as well. This play is, in part, about William Shakespeare, but it is mainly about Agnes Hathaway, the wife who gave him three children. It is the imagined story of their life. It feels right that we bring Hamnet to London, to the streets he would’ve walked and the world he inhabited. The West End is no stranger to Shakespeare’s work, but I hope London audiences will come to see Hamnet to meet the entire Shakespeare family and discover more about the works they helped to inspire.”

This new play based on the best-selling novel by Maggie O’Farrell, adapted by award-winning playwright Lolita Chakrabarti (Life of Pi, Red Velvet, Hymn), pulls back a curtain on the story of the greatest writer in the English language and the woman who was the constant presence and purpose of his life. 

Madeleine Mantock will play Agnes Hathaway, in her RSC debut. Madeleine made her West End stage debut in 2021 playing Elvira in Richard Eyre’s production of Blithe Spirit at the Harold Pinter Theatre. For TV, Madeleine recently played Macy Vaughn in CBS studios series Charmed and Miss Clara in the BBC’s The Long Song. Other TV credits include The Tomorrow People (Warner Brothers), Age Before Beauty (BBC) and Into the Badlands (AMC). Madeleine’s film credits include Breaking Brooklyn (Montage Films), The Truth Commissioner (BBC Films) and Edge of Tomorrow (Warner Brothers).  

Warwickshire,1582. Agnes Hathaway, a natural healer, meets the Latin tutor, William Shakespeare. Drawn together by powerful but hidden impulses, they create a life together and make a family. 

When the plague steals 11-year-old Hamnet from his loving parents, they must each confront their loss alone. And yet, out of the greatest suffering, something of extraordinary wonder is born. 

Hamnet has sold over a 1.5 million copies worldwide and was named both Waterstones Book of the Year and winner of the National Book Critics Circle Award in 2020. The novel also saw Maggie O’Farrell named the winner of the 2020 Women’s Prize for Fiction; the UK’s most prestigious annual book award celebrating and honouring fiction written by women. As the No. 1 Sunday Times Bestseller in 2021, Hamnet was shortlisted for the Walter Scott Prize for Historical Fiction (2021) and British Book awards ‘Fiction Book of the Year’ (2021).

The production will feature Set and Costume Design by Tom Piper, Lighting by Prema Mehta, Sound by Xana, Music by Oğuz Kaplangi, Casting by Amy Ball CDG and Movement by Ayse Tashkiran.

Erica Whyman, Acting Artistic Director of the Royal Shakespeare Company said; “I have been overwhelmed by the response to Hamnet in Stratford and the palpable excitement about bringing this beautiful and important book to the stage.

We are having a rewarding and inventive time in rehearsals and I’m delighted that we will now be able to share this emotional rollercoaster of a story with audiences in London. It has meant the world to me to be collaborating with Neal Street and Hera Pictures who have supported the idea of this adaptation from the very beginning and are making this transfer possible.

The RSC is enormously proud of the new work we make and we are always seeking partners so that we can share our work in London, most recently the phenomenally successful My Neighbour Totoro with the Barbican, Improbable and Nippon TV and later this year The Empress will be at the Lyric Hammersmith.

Hamnet is a compelling story about love. It transcends 400 years of history – a history some of us may know – and speaks with total freshness straight to our hearts. It is a story of birth, death and hope which centres characters and lives who have been left in the shadows. It is also a hymn to the unique emotional wisdom of the theatre. Lolita’s brilliantly sharp adaptation carries us from the wildflowers of Stratford to the boisterous success of London theatre – and now the production will too!”

Caro Newling, Neal Street Productions said; “Maggie O’Farrell’s piercing account of Hamnet’s short life and his immeasurable legacy has found a perfect home at the Swan Theatre. To collaborate with the RSC, led by Erica and the creative team she has built to make this production, fulfils a long-held hope to make a stage adaptation rooted in the fullest possible appreciation of the story’s time, place and spirit. The appetite for this title has powered immediate plans for a move to London and we’re delighted to be arriving at the Garrick Theatre within weeks of the run at Stratford-upon-Avon.” 

Theatre Royal Brighton – until 25 March 2023

Reviewed by Sue Bradley

3***

Wish you Were Dead is taken from a recent Peter James novella of the same name and features the by now well-known detective DS Roy Grace and his wife Cleo. Unusually for a Roy Grace story, the setting is not Brighton. Apparently inspired by a real holiday experienced by the author, we are transported to Northern France, where we are treated to an almost Agatha Christie-like single location thriller.

On holiday with their new baby, and accompanied by their nanny, Roy and Cleo arrive at what the advertising promised to be a dream location but instead turns out to be anything but.

Arriving late, due to SatNav navigation problems, they find themselves in a grand but creepy old French chateau with an exceptionally, even comically,  grumpy hostess Madame L’Eveque (played with panache by Rebecca McKinnis) who complains about their tardiness and generally makes them feel unwelcome. Add to this the apparent lack of modern facilities like mobile phone reception and wifi, and their isolation sets the scene for the difficulties that are to come.

Perhaps I have been spoiled by reading some of the novels and seeing dramatisations of Roy Grace stories on television, but I have an impression of how Roy Grace presents himself to the world – an urbane and thoughtful older man with a difficult internal world – partly down to the rigours of his job and partly due to the mysterious disappearance of his first wife that has darkened his life.

In this production, George Rainsford (Casualty), plays Grace as a younger, more highly strung character – less frustrated by his situation and more desperate; although, to be fair, the plot does eventually take us to a fairly desperate situation. Cleo, played by Giovanna Fletcher (interestingly, in real life herself is a best-selling novelist) also appears somehow less glamorous and complex than the Peter James novels would suggest.

Clive Mantle (Casualty, Vicar Of Dibley) is perhaps more convincing as the near-psychopathic Curtis, with some nice throwaway comic lines laced into his Hammer Horror villain – style menace (“You’re no fun, Miss Marple”).

In some ways, the staging is the star in this show. The single set has multiple doors and locations including one that is only revealed half-way through, even though it has been in plain sight all the time. It provides plenty to look at and an effective background to the different emotional moods throughout the play. Clever tricks with the lighting add to the atmosphere and I rather liked the use of music to add tension, much as we often hear used in films and television.

I can’t help but wonder if Peter James is having a private joke with us, naming the villains of the play after a notoriously pungent French cheese. And like many strong French cheeses, the flavour is not as strong as the aroma might suggest. In the end, this is an enjoyable, if undemanding romp.

Forum Theatre, Malvern – 19th March 2023

Reviewed by Courie Amado Juneau

4.5****

I had never had the privilege of seeing Malvern’s amateur orchestra, The Chandos Symphony Orchestra, before so was looking forward to this evening. Especially given some rather intriguing programming.

The evening opened with Rossini’s Overture to William Tell. This famous overture, portions of which have been used elsewhere (most notably as the theme from The Lone Ranger), is a real crowd pleaser. And right away the orchestra thrilled us with a full throttle reading, beginning with the opening section featuring the cellos. The rest of the orchestra burst forth soon enough, with some surprisingly muscular, rousing brass! Wonderful. It was to get better.

For me, the real draw was hearing a concerto for Jazz Harp. I wasn’t even sure what that even was before this evening; wondering perhaps if the composer meant harmonica (like it is sometimes called a Blues Harp). But no, to my delight it was an actual harp! Not just a harp though; an electric harp.

The soloist for tonight’s World Premiere (you don’t often get to be at those) was also the composer: Ben Creighton-Griffiths. His work was indeed very jazzy, with the inclusion of a full drum kit to complement the usual orchestral forces as well as many improvised sections. I was genuinely (and very pleasantly) surprised to discover we were to be transported to Latin America for a Samba, back in time for a 1930’s jazz/blues interlude, right up to date with a thoroughly modern opening in 5/4 and to enjoy a waltz courtesy of the Balkans. But it was the middle movement, the ballad, that was the emotional and figurative heart of the piece. I closed my eyes and saw James Bond cavorting around the French Riviera with his wife to the strains of this beautifully evocative movement. I was pleased to discover, upon meeting the composer himself in the interval, that he had exactly that in mind – so perfect was his conjuring of mood and filmic scene painting!

If that piece does not make his name with multiple performances everywhere then there’s no justice in the world. A stunning piece with range, wit, drama and passion. Accomplished playing too from Ben on that amazing harp! To be the standout piece in a program containing Rossini and Franck is a testament to the talent of this young composer who I’m sure will have a long and distinguished career ahead. A truly masterful achievement.

After the break came Cesar Franck’s Symphony in D minor. A romantic symphony that has more than a touch of Gershwin about it. Not one of my favourite pieces but this orchestra really brought it to life with some very exciting playing. Giving it their all, at the conclusion several members of the orchestra were puffing their cheeks, visibly drained. Special mention must go to their fabulous Conductor Michael Lloyd who gave the orchestra room to shine and wowed us with some athletic tempi to intoxicate the senses.

A joyous evening of wonderful music, I cannot wait to see Malvern’s finest again. Bravo!

Southampton Mayflower – until 25 March 2023

Reviewed by Lucy Hitchcock

5***** (because I can’t give more than 5!))

Richard O’Briens cult classic Rocky Horror Show comes to Southampton and does not disappoint!

This exceptional cast starring Richard Meek as Brad, Hayley Flaherty as Janet, Stephen Webb as Frank’n’Furter and Kristian Lavercombe as Riff Raff is a treat for the eyes and ears! With their fabulous rapport on stage mixed with comedic timing to die for and brilliant voices,this is the best touring production you will find!

Narrated by Phillip Frank, you are taken on a strange journey that you will never forget! Phillip Frank is a comedy genius, expertly navigating the audience participation and creating an uproar of laughter! He is, quite simply, the driving force of this production. You can see how he thrives off the shout outs from the audience, and always brings something new to the stage with his witty remarks! Kristian Lavercombe is an exceptional actor and embodies RiffRaff perfectly. He has performed this role over 2000 times and it is evident how much pride he feels when performing. He has such pizzazz and stage quality that it is difficult not to watch him at all times! Stephen Webb is a great Frank N Furter, with sex appeal that tantalises the audience from the moment he steps on stage. His embodiment of the iconic Frank is superb – with his own little twist on the role, he has fully embraced the stockings, suspenders and heels to bring Frank to the audience! Richard Meek and Hayley Flaherty as Brad and Janet, are the perfect casting and both delight with their renditions of ‘Toucha Touch me’ and ‘Once in a while’. This is not my first time seeing Rocky Horror (actually my 30th!) and it was a joy to see how there have been some developments in songs, with an addition to ‘Once in a While’ with Janet singing alongside Brad in a wistfully longing manner. Both of these actors never falter and make for the perfect combination couple.

Sue Blane’s costume design is exquisite – with an incredible amount of sequins and stockings, it adds so much to the show. The incredible heels that the characters all wear are beautiful and it is a true testament to the men in the production that they are able to dance expertly in each pair!

This show is perfectly headed by the extensive creatives that help the show run smoothly-namely Simon Holmes, Rebecca Spiller and Charlie Bennett, who as Stage Managers make this production seamless and faultless.

This is an incredible show, one that I have (and will!) watch multiple times and never get bored! If you want sex, sequins and are in the mood to ‘Time Warp’ this is not to be missed! If I could rate it higher than 5 stars, there would be no question that I would!! I cannot wait to come back and see it later on this week – fully adorned in sequins, corset and feather boa! If there is only one show you see this year, this NEEDS to be the one you choose!!

THE PLOTTERS HAVE

MAPPED OUT THEIR ROUTE…

TAKES ITS AUTUMN TOUR
TO EDINBURGH, SHEFFIELD AND LONDON

FROM 25 OCTOBER – 18 NOVEMBER 2023

“…shines iridescent in its music…”
Guardian

“…exciting new piece of theatre…dynamite.”
Reviews Hub

“You will hear the phrase “the British Hamilton” and with good reason as this could be a sensation.”

All That Dazzles

This Autumn will see the highly anticipated British musical premiere its first full production in select theatres across the UK. Kicking off with a bang on 25 October at the Festival Theatre, Edinburgh, Treason will continue to Sheffield Lyceum Theatre on 31 October and finally explode into London’s Alexandra Palace from 08 – 18 November.

Treason the Musical is an historic tale of division, religious persecution, and brutality, ending in an ambitious yet fateful plot to bring down both the monarchy and the government.

Set to blow you away with stunning original folk and pop songs, this one-of-a-kind show tells one of the most intriguing tales in Britain’s history as it’s never been seen before.

Garnering a global audience following its streamed Cadogan Hall concert in 2021 and two subsequent EPs on streaming platforms, last August saw the musical take to the stage in a ‘WhatsOnStage’ award nominated concert, starring Carrie Hope Fletcher and Bradley Jaden, which sold out Theatre Royal Drury Lane twice.

Earlier this year, the album Lighting The Fuse: Sparks From Treason In Concert was released, featuring a 19-track selection from the show which captivated further audiences. In its first month the album has surpassed 100,000 streams.

Sign up to our mailing list to become a Plotter and be the first to find out about pre-sales from our Autumn venues: https://treasonthemusical.com/newsletter.php

Double Olivier Award winner,
four-time Olivier Award nominee 
and Tony Award nominee
TRACIE BENNETT 
will star in ‘How to Succeed in Business’ Without Really Trying’
…and she’s playing the big boss J.B.Biggley!

Currently working on a film in New York, Tracie recorded a video saying: “I’m excited to tell you that I’m coming back to London to start rehearsing the 1960s satirical musical, ‘How to Succeed in Business Without Really Trying’. I’ll be playing a man. Yes, it was bound to happen some time, wasn’t it? With these very dulcet tones of mine! Looking forward to it very much. Lots of love for now and I’ll see you soon!”

Watch the video with this link –
https://www.youtube.com/watch?v=Wq6AIy0s_fo

Southwark Playhouse (Borough)

77-85 Newington Causeway, London SE1 6BD

Friday 12 May – Saturday 17 June, 2023

Last seen in London as Carlotta in the National Theatre production of ‘Follies’, Tracie Bennett recently played Alice in ‘Hangmen’ on Broadway and starred as Mame in ‘Mame’ at Hope Mill Theatre.

She is also well known for playing the role of Sharon Gaskell in ‘Coronation Street’ from 1982 to 1984, returning to the role in 1999 and again in 2021.

Among her many musical theatre starring roles, she received two Olivier Awards for Best Supporting Role in a Musical for her performances in the musicals ‘She Loves Me’ and ‘Hairspray’ with additional nominations for her work in ‘High Society’ and ‘Follies’. She was also nominated for the Olivier Award for Best Actress in a Musical as Mrs Henderson in ‘Mrs Henderson Presents’, while her performance as Judy Garland in ‘End of the Rainbow’ earned her an Olivier nomination for Best Actress in a Play and a Tony Award nomination in the same category when the production transferred to Broadway.

Director Georgie Rankcom said: “Our approach to this wonderful show is to trust the brilliant original and let the satire shine. To find the best possible company to tell this story, we expanded our ideas of who can play and embody these roles. When you’re looking for someone with the charisma and  power to be the high powered boss with a flare for the occasional musical number, Tracie Bennett quickly becomes the top choice. I’m honoured and excited to be working with her on bringing this new version of ‘How to Succeed’ to the stage.”

‘How to Succeed in Business Without Really Trying’ is a comic gem that took Broadway by storm in 1961, winning both the Tony Award for Best Musical and a Pulitzer Prize. It was revived twice on Broadway in acclaimed productions starring Matthew Broderick and Daniel Radcliffe.

A satire of big business and all it holds sacred, it follows the rise of J. Pierrepont Finch, who uses a little handbook called How to Succeed in Business without Really Trying (voiced in the Southwark production by Michelle Visage of ‘Ru Paul’s Drag Race’ fame) to climb the corporate ladder from lowly window washer to high-powered executive, tackling such familiar but potent dangers as the aggressively compliant “company man”, the office party, backstabbing co-workers, caffeine addiction and, of course, true love.

‘How to Succeed in Business Without Really Trying’ boasts an exhilarating score by Frank Loesser – one of America’s great composer/lyricists, also responsible for ‘Guys & Dolls’ (currently a massive hit at the Bridge Theatre) – including ‘I Believe in You’, ‘Brotherhood of Man’ and ‘The Company Way’.

More cast to be announced.

Creative Team:

Director Georgie Rankcom (they/them), Choreographer Alexzandra Sarmiento (she/her), Musical Director Natalie Pound (she/her), Set and Costume Designer Sophia Pardon (she/her) Lighting Designer Lucía Sánchez Roldán (she/her), Sound Designer Joshua Robins  (he/him), Orchestrator Stuart Morley (he/him), Stage Manager Waverley Moran (she/they), Production Manager Misha Mah (they/them), Casting Director Peter Noden (he/him), Producer / General Manager Jodee Conrad (she/her).

Big Con Productions and The Grey Area
present

Frank Loesser and Abe Burrows’

HOW TO SUCCEED IN BUSINESS
WITHOUT REALLY TRYING

Music & Lyrics by Frank Loesser
Book by Abe Burrows, Jack Weinstock
& Willie Gilbert

Based on the novel by Shepherd Mead

Southwark Playhouse (Borough)
77-85 Newington Causeway,
London
SE1 6BD

12 May – 17 June 2023

7:30pm Mon-Sat
3pm Tues & Sat

Tickets
£16 Previews
£28 Concessions
£35 Standard

Social Media:

Twitter/Instagram/ TikTok
@SucceedLDN

Originally presented by Cy Feuer and Ernest H. Martin in association with Frank Productions

Presented by arrangement with
Music Theatre International

BOOKING TO OPEN FOR THE

WORLD PREMIERE 

OF

STRANGER THINGS: 

 THE FIRST SHADOW

A NEW STORY LIVE ON STAGE

FINAL CHANCE TO SIGN UP AND RECEIVE PRIORITY BOOKING

PRIORITY BOOKING OPENS ON 28 MARCH

GENERAL TICKETS RELEASED 30 MARCH

PERFORMANCES BEGIN NOVEMBER 2023

AT PHOENIX THEATRE, LONDON

TICKETS CAN BE BOOKED FROM JUST £20, WITH OVER 500 SEATS EACH WEEK AT £20 OR UNDER

Based on an original story by the Duffer Brothers, Jack Thorne and Kate Trefry, STRANGER THINGS: THE FIRST SHADOW, a new play written by Kate Trefry, will receive its world premiere at the Phoenix Theatre in London’s West End, directed by Stephen Daldry with co-direction by Justin Martin. The production previews from 17 November, with an official opening night on 14 December 2023.

Priority booking for the production opens on 28 March from 12pm GMT (7am Eastern Time) with access given to those who have signed up via the mailing list at strangerthingsonstage.com – it is still possible to sign up to the mailing list until 26 March. Public booking then opens on 30 March at 12pm GMT (7am Eastern Time), but signing up for priority access is highly recommended.

Tickets can be booked from just £20, with over 500 seats each week at £20 or under.

A weekly lottery for late-release tickets will be announced closer to first performance.

Further information on how to access these tickets will be announced later this year.

Hawkins, 1959: a regular town with regular worries. Young Jim Hopper’s car won’t start, Bob Newby’s sister won’t take his radio show seriously and Joyce Maldonado just wants to graduate and get the hell out of town. When new student Henry Creel arrives, his family finds that a fresh start isn’t so easy… and the shadows of the past have a very long reach.

Brought to life by a multi-award-winning creative team, who take theatrical storytelling and stagecraft to a whole new dimension, this gripping new adventure will take you right back to the beginning of the Stranger Things story – and may hold the key to the end.

This new play by Kate Trefry, a writer and co-executive producer for the TV series of Stranger Things, will be rooted in the mythology and world of the Netflix global phenomenon.   Produced by Netflix and Sonia Friedman Productions,the Duffer Brothers act as creative producers, with 21 Laps as associate producer.

Created by the Duffer Brothers, Stranger Things debuted on Netflix on 15 July 2016. Its fourth season (released in 2022) tops the Netflix Most Popular English TV list at #1 with 1.35 billion hours viewed; the third season released in 2019 still holds at #6 with 582.1 million hours viewed. The series has garnered over 70 awards worldwide including Emmys and the Screen Actors Guild Award for Outstanding Performance by an Ensemble in a Drama Series, and has been nominated for over 230 awards. Recently Stranger Things completed its record-breaking fourth season to huge acclaim, becoming the biggest premiere weekend ever for an English-language TV show on Netflix.

STRANGER THINGS: THE FIRST SHADOW will be directed by Stephen Daldry with co-director Justin Martin, set design by Miriam Buether, costume design by Brigitte Reiffenstuel, lighting design by Jon Clark, sound design by Paul Arditti, illusions design & visual effects by Jamie Harrison & Chris Fisher, video design & visual effects by 59 Productions, movement direction by Coral Messam, wigs, hair and make-up design by Campbell Young Associates, casting by Charlotte Sutton CDG, international casting consultancy by Jim Carnahan, Gary Beestone for Gary Beestone Associates is Technical Director, with further creative team members to be announced.

Further ticket information, on-sale details, performance schedule, full creative team and casting to be announced at a later date.

Strangerthingsonstage.com

Instagram.com/STOnStage

Tiktok.com/STOnStage

Facebook.com/StOnStage

Twitter.com/StOnStage

***

Netflix and Sonia Friedman Productions present

STRANGER THINGS: 

THE FIRST SHADOW

By Kate Trefry

Original story by the Duffer Brothers, Jack Thorne & Kate Trefry

Based on the Netflix Series, Stranger Things, created by the Duffer Brothers

Director: Stephen Daldry; Creative Producers: The Duffer Brothers; Co-Director: Justin Martin;

Set designer: Miriam Buether; Costume designer: Brigitte Reiffenstuel; Lighting designer: Jon Clark; Sound designer: Paul Arditti; illusions design & visual effects by Jamie Harrison & Chris Fisher;

video design & visual effects by 59 Productions; Movement director: Coral Messam;

Wigs, Hair and Make-Up designer: Campbell Young Associates; Casting director: Charlotte Sutton CDG; International casting consultant: Jim Carnahan; Associate Producers: Shawn Levy & Dan Cohen for 21 Laps.

The Duffer Brothers broke out onto the scene in late 2011 when, fresh out of college, they had multiple movie studios vying for their horror-thriller spec script Hidden, which landed at Warner Bros. The Duffers directed the film, which starred Alexander Skarsgård and Andrea Riseborough and was released in 2015. Shortly afterwards, they wrote and were executive producers on M. Night Shyamalan’s hit television show Wayward Pines. The Duffer Brothers then created the worldwide phenomenon Stranger Things for Netflix in 2016 starring Winona Ryder and David Harbour. The fourth season of the series, which they wrote, directed, and executive produced, became the most viewed season of English-language TV in a single week on Netflix with 335.01 million hours viewed in its first seven days. In 2022, The Duffer Brothers announced the launch of their production company Upside Down Pictures. The company has multiple projects in development including an all-new live-action television adaptation of the renowned Japanese manga and anime series Death Note; an original series from creators Jeffrey Addiss and Will Matthews; a series adaptation of Stephen King and Peter Straub‘s The Talisman alongside Steven Spielberg’s Amblin Entertainment and Paramount Television; and a live-action Stranger Things spin-off series based on an original idea.

Kate Trefry is a writer and Co-Executive Producer on Stranger Things. She has had two Black List scripts: Pure O, currently being adapted as a series for Netflix, and Revolver, with Maya and Ethan Hawke attached to star and Andrew Stanton directing. She also wrote the final installment of Fear Street: 1666 for the R.L. Stine trilogy. Her directorial debut short How To Be Alone starred Maika Monroe and Joe Keery and premiered at SXSW.

Jack Thorne’s plays include After Life (National Theatre), A Christmas Carol (The Old Vic/ Broadway/The Old Vic: In Camera), Harry Potter and the Cursed Child (West End/Broadway /international), Sunday (Atlantic Theatre), The End of History, Hope (Royal Court Theatre), King Kong (Broadway), Woyzeck (The Old Vic), Mydidae (Soho/West End), Stacy (Tron/Arcola/West End), Let the Right One In (West End/Dundee Rep/Royal Court Theatre), Junkyard (UK tour), The Solid Life of Sugar Water (Graeae/National Theatre/UK tour), Bunny (Nabokov/UK tour/New York), and Stuart: A Life Backwards (Sheffield Crucible/UK tour). His television includes Help, Then Barbara Met Alan, CripTales, The Eddy, The Accident, His Dark Materials, Philip K. Dick’s Electric Dreams, Kiri, National Treasure, The Last Panthers, Don’t Take My Baby, This Is England, The Fades, Glue, Cast Offs. Film includes: The Swimmers, Enola Holmes, The Secret Garden, The Aeronauts, Dirt Music, Radioactive, Wonder, War Book, A Long Way Down, and The Scouting Book for Boys. His work for television has won him five BAFTAs and an RTS Television Award. In 2022 Jack was the recipient of both the Writers’ Guild of Great Britain award for Outstanding Contribution to Writing, and the Royal Television Society’s award for Outstanding Contribution to British Television. He is a patron of Graeae Theatre Company, an associate artist of the Old Vic Theatre, and launched the pressure group Underlying Health Condition to champion disabled representation in the TV industry.

Stephen Daldry started his career at the Sheffield Crucible and directed extensively in Britain’s regional theatres. In London, he was Artistic Director of the Gate Theatre and the Royal Court Theatre where he headed a £26 million redevelopment. He has also directed at the National Theatre, the Public Theatre in New York, and transferred many productions both to Broadway and the West End. His award-winning 1992 National Theatre production of An Inspector Calls is currently touring the UK. Billy Elliot the Musical has previously played in the West End, on Broadway, Australia (Sydney and Melbourne), North America, Toronto, The Netherlands, UK & Ireland Tours, Hamburg, Tokyo, and Seoul. In 2009, the production won 10 Tony Awards including Best Musical, more than any other British show in Broadway history. Stephen directed productions of The Audience and Skylight, both of which were highly acclaimed and went on to win major theatre awards, completing sell-out runs in London and on Broadway. In 2017, Stephen directed The Jungle at the Young Vic, an intimate immersive theatrical experience about the ongoing migrant crisis in Europe. The Jungle transferred to the West End in June 2018 and has since completed well-received productions in San Francisco & New York. It returns to New York’s St. Ann’s Warehouse in early 2023. In 2018, Stephen directed The Inheritance, Matthew Lopez’s epic two-part play, which followed its sold out run at the Young Vic by transferring to the West End.  Stephen won the 2019 Best Director Olivier Award for The Inheritance. The production moved to Broadway in 2019 and Stephen won a Tony for Best Direction of a Play in 2021. His first four films Billy Elliot, The Hours, The Reader and Extremely Loud and Incredibly Close collectively received 19 Academy Award® nominations and two wins. His most recent film, Together, for the BBC and set during the Covid-19 Pandemic, won Best Single Drama at the 2022 TV BAFTAs. He has previously directed for BBC Radio and Television and is Director and Executive Producer on the Netflix series The Crown, winner of 21 Primetime Emmy Awards,written by Peter Morgan. The sixth and final season is currently in production with Stephen returning to direct the final episode. He is an Artistic Director of the Pier 55 performance park Little Island in New York, as well as sitting on the Board for the new Perlman Arts Center. He was Creative Executive Producer for the Opening and Closing Ceremonies for the London 2012 Olympic and Paralympic Games. He is Chairman of a refugee arts charity Good Chance, producers of The Jungle. His latest production with Good Chance, The Walk, saw a 10ft tall puppet of a Syrian refugee girl, Little Amal, walk from Turkey to Glasgow in 2021.

Justin Martin is a multi-award-winning director working in theatre, film and television. Most recently he directed Jodie Comer in her West End stage debut in Prima Facie by Suzie Miller. The sold-out award-winning production received rave reviews. The subsequent NT Live/Empire Street broadcast of the play broke box office records to become the highest earning event cinema release of all time. His production is heading to Broadway in Spring 2023. In 2021 he co-directed the critically acclaimed and BAFTA Award-winning film Together with Stephen Daldry for Sonia Friedman Productions, BBC Films, and Shoebox Films (starring James McAvoy and Sharon Horgan). His award-winning production of The Jungle (A Young Vic/National Theatre co-production also co-directed with Daldry) most recently played in San Francisco (2019), following sellout seasons at St Ann’s Warehouse in New York (2018), in the West End (2018) and at The Young Vic (2017). The show garnered awards including an Obie, a Southbank Sky Arts Award and a Broadway World Award for Best Direction. The Jungle is currently playing at St Ann’s Warehouse ahead of a tour to Washington DC. His critically acclaimed production of Low Level Panic sold out twice at the Galway Theatre Festival before touring throughout Ireland and to a sell-out season in Australia. Other theatre credits include: Last Chance: A Plea For the Unaccompanied Children of Calais (Young Vic), The Nether (Seymour Centre, Sydney), Far Away (fortyfivedownstairs, Melbourne), Fifty Two (Leicester Square Theatre), Good Chance/No Chance (as part of the Southbank Centre’s Festival of Love), Harvey and Frieda (Arcola Theatre), Street (Mick Laly Theatre – Galway Theatre Festival), The Kitchen (HM Theatre, Victoria) and Skintight (fortyfivedownstairs, Melbourne). He has a long collaboration with director Stephen Daldry. Most recently, he was the associate director for Daldry’s award-winning production of The Inheritance (Young Vic/West End/Broadway) for which Daldry gave him the Olivier Award for Best Direction. He was the associate director for both Skylight and The Audience in the West End and on Broadway.  He also worked with John Tiffany and Steven Hoggett on the National Theatre of Scotland’s production of Let The Right One In (Dundee Rep/Royal Court/West End/St Ann’s, NY/US Tour). He was an associate director on Billy Elliot the Musical working on Broadway, throughout North America, Korea, Amsterdam and Australia. His other screen credits include The Lovers for Sky Atlantic, Sundance and AMC, the first two seasons of the award-winning Netflix series The Crown, the upcoming Netflix film The Beautiful Game, and hugely successful NT Live performances of Prima Facie, Skylight and The Audience. He is an associate artist with Good Chance Theatre – a company dedicated to making work with and about refugees. He has directed a number of works for them, including most recently working on a number of promos for The Walk – a theatre festival spanning 8000km from the Syrian border to Manchester. He was the inaugural recipient of the Roger Leach Award for Theatre.

NOTTINGHAM PLAYHOUSE AND ELEANOR LLOYD PRODUCTIONS PRESENT

CHARLES DICKENS’ A CHRISTMAS CAROL 

A GHOST STORY 

ADAPTED BY MARK GATISS 

INSTAGRAM, FACEBOOK, TWITTER – @XmasCarolLDN

• MARK GATISS’ ADAPTATION OF A CHRISTMAS CAROL RETURNS TO NOTTINGHAM PLAYHOUSE AND ALEXANDRA PALACE THIS FESTIVE SEASON
   
• FIRST PREMIERED IN 2021 THE PRODUCTION WAS SEEN IN CINEMAS AND ON THE BBC IN 2022
   
• TICKETS ARE ON SALE FOR BOTH RUNS NOW AT WWW.NOTTINGHAMPLAYHOUSE.CO.UK AND WWW.CHRISTMASCAROLONSTAGE.CO.UK
   
• FULL CASTING TO BE ANNOUNCED SOON 

Marley was dead: to begin with.

Following a phenomenally successful premiere season in 2021, Mark Gatiss’ retelling of Dickens’ winter ghost story returns to Nottingham Playhouse as well as the hauntingly atmospheric Alexandra Palace for Christmas 2023. Filled with Dickensian, spine-tingling special effects, prepare to be frightened and delighted in equal measure as you enter the supernatural Victorian world of A Christmas Carol.

It’s a cold Christmas Eve and mean-spirited miser Ebenezer Scrooge has an unexpected visit from the spirit of his former business partner Jacob Marley. Bound in chains as punishment for a lifetime of greed, the unearthly figure explains it isn’t too late for Scrooge to change his miserly ways in order to escape the same fate, but first he’ll have to face three more eerie encounters…

Mark Gatiss said: “I’m delighted that my adaptation of Charles Dickens’ A Christmas Carol is returning to Nottingham Playhouse and Alexandra Palace this year after such a successful outing last time.  I’m sad to say that having fulfilled my lifetime ambition of Jacob Marley, I shall be hanging up my chains, but I am extremely delighted and excited at the prospect of a new Scrooge and Marley to take up the reins for this festive season.  I can’t wait to be part of it again and see it from the other side of the veil.”

Directed by Adam Penford (The Clothes They Stood Up In, The Madness of George III) the story stays true to the spirit of the original novel. The acclaimed production first premiered at Nottingham Playhouse in 2021, transferred to London’s Alexandra Palace Theatre, and was then released in a filmed version in UK cinemas in 2022 and shown on BBC4 over the Christmas period. 

‘Waldo’s Circus of Magic & Terror’: a new circus theatre musical and spectacular story of love and resistance set in a travelling circus comes to The Lowry this April.

A daring tale of humanity, Waldo’s Circus of Magic & Terror is based on an original idea by Hattie Naylor, and co-written by Hattie Naylor and Jamie Beddard with an original score by Charles Hazlewood arrives at The Lowry, Salford from Thursday 20 to Saturday 22 April.

Set in 1933 Germany where Nazis are burning books and suspending civil rights, Waldo and his eclectic troupe of acrobats and clowns dedicate themselves to their craft. Concealed within the glamour of Waldo’s big top, stories of love, courage and resistance are revealed as the world outside this remarkable circus troupe becomes darker and more dangerous. The story is informed by historical research and the experiences of real performers. The star of Waldo’s Circus is ‘Krista’ played by Abbie Purvis with Lawrence Swaddle as ‘Gerhard’. Waldo’s Circus of Magic & Terror is a large scale collaboration between D/deaf, disabled, and non-disabled artists and creators and tours nationally in 2023.

Waldo’s Circus of Magic & Terror is presented by Extraordinary Bodies based on an original idea by Hattie Naylor (Ivan and the Dogs, The Night Watch) and co-written by Hattie Naylor and Jamie Beddard (Messiah, The Elephant Man). The composer is Charles Hazlewood (Artistic Director, Paraorchestra) and it is co-directed by Claire Hodgson (Diverse City), Billy Alwen (Cirque Bijou) and Jenny Davies. Waldo’s Circus is co-produced with Bristol Old Vic and Theatre Royal Plymouth. All shows are Chilled Performances, BSL interpreted, captioned and audio described. It premieres at Bristol Old Vic with National press night on 16 March.

Extraordinary Bodies acknowledge the Holocaust and the millions of Jewish victims, and other groups* including disabled people who were targeted for persecution and murder. In making this work, the company affirms its unwavering commitment to counter antisemitism, racism, and other forms of intolerance that may lead to group-targeted violence. 

The world of Waldo’s Circus of Magic & Terror takes the painted-on glamour, skilful risk-taking, fierce loyalty, and the idea that ‘the show must go on’ as its narrative pillars. Set in 1933 when the law for “Prevention of Offspring with Hereditary Diseases” is passed, Waldo the Ringmaster with his travelling circus of outcasts and misfits, acrobats and aerialists, lovers and fighters are surviving in the fervour of Hitler’s dictatorship.

Jamie Beddard, Writer said: “As a disabled person and artist, I’m acutely aware of the stigmatisation of particular groups and people through the growth of fascism in the past and now. The popularity of Eugenics in early 1930s Germany marked the beginning of a dark chapter in history where millions of people who were deemed not to conform were brutally hunted down and ‘dealt with’. Whilst researching this period, the role of the circus in helping some of these people escape and find sanctuary provided the basis for Waldo’s Circus. Our dramatic exploration of this moving and brave story reminds us to be always vigilant, and with the energy, skills and creativity of our artists, we hope to create a spectacular, meaningful and vital piece” 

Hattie Naylor, Writer said: “The inspiration and story of Waldo’s Circus evolved from initial interest and conversations generated by Todd Browning’s iconic film Freaks, released in 1932. It occurred to me that there must have been circuses in Germany that had so-called ‘freak shows’ at that time. So, I started researching, and I found that not only was this the case but these performers were smuggled out of the country through the circus networks, to Paris and beyond. Jamie, Extraordinary Bodies and I worked on the characters together, taking inspiration from a variety of circus artists from both the past and present. Extraordinary Bodies is not only doing radical work but is utterly inclusive and aims as a principle to make everyone welcome and heard. It is a privilege to work with a company with this profound ethos at its heart.”

The score is composed by Charles Hazlewood and developed alongside rehearsals, and research and development sessions with the cast and creatives. The music promises a bold mix of styles with live, multi-instrumentalists onstage.

Charles Hazlewood, Composer said: “When I write a score for a piece of theatre, I write for the performers in the rehearsal room and borrow from each and any, and all musical worlds. For Waldo’s Circus where Hattie and Jamie have written very beautiful, lyrical prose, I thought – how about if we created a kind of punk circus that also borrowed from new romanticism, techno and renaissance? There’s no incongruity about having a punk aria followed by a piece of renaissance counterpoint – and that’s what the show will be. Extraordinary Bodies is a phenomenally skilled, and ultimately, very, very open-hearted, adventurous bunch of individuals.”

Announcing lead performers Abbie Purvis and Lawrence Swaddle:

Abbie Purvis is an actor and musical theatre performer. She plays ‘Krista’, the star of the circus and the main attraction. She has a brave heart and is funny, sassy and loyal. The circus is Krista’s family and the only place where she has felt safe. Purvis comes from a lineage of actors, she is the granddaughter of Jack Purvis (Time Bandits, Monty Python and Star Wars) and her mother Katie Purvis played the iconic role of Maternal Ewok in Star Wars: Episode VI Return of the Jedi. 

Lawrence Swaddle plays ‘Gerhard’, handsome but gullible, and a Nazi Party member. Lawrence is an actor and circus performer who trained at the Oxford School of Drama. Over his career, he has performed internationally and nationally in circus shows and theatre productions.

Extraordinary Bodies is a collaboration between Cirque Bijou and Diverse City, who have worked together for the last decade creating multi-disciplinary circus shows with D/deaf, disabled and non-disabled artists. 

Claire Hodgson and Billy Alwen, Co-Directors, Extraordinary Bodies said: “In Extraordinary Bodies’ shows, we try to reflect the world as it truly is – on stage. It is important that our work connects the inside and the outside of theatres to the audiences that see it, and we embed the work as much as possible in the community before and after the shows. Waldo’s Circus is a cross-genre feast and the music is surprising, jumping across genres and decades. The circus will be varied and exciting. It is quite punk, feisty, astonishing and about the best of us and the worst of us as humans. You will be entranced by the performers and their characters and unable to forget the beautiful writing and the songs.”

For more information and tickets visit www.thelowry.com.